When British Prince Henry (Nicholas Galitzine) and the US President's (Uma Thurman) son Alexander (Taylor Zakhar Perez) first meet in Red, White and Royal Blue (RWRB), they describe each other as the world’s most “irritating” and “rudest”, respectively. Twenty minutes into the two-hour film, the hateful duo get attracted to each other. The film, based on Casey McQuiston’s eponymous novel, is rather interesting up until here. It doesn’t become particularly bad either, but a sense of predictability washes over the proceedings, causing this saccharine romance to stop well short of becoming a great queer love story.
Director: Matthew Lopez Cast: Taylor Zakha Perez, Nicholas Galitzine, Uma Thurman, Sarah Shahi, Rachel Hilson Streaming on: Amazon Prime Video
Although RWRB is very much about Henry and Alex falling in love with each other, the backdrop of re-election in America and the customs of the British throne are part of the film as well. While Alex wants to cause positive change in the world, Henry’s aim is to run away from the Royal burden (like most princes in history, it seems.) The ideas are regal and lofty, but they just don't surprise you enough.
I did enjoy some little touches. For one, Uma Thurman’s Ellen Claremont is a utopian woman POTUS. While Alex is more physically imposing than Henry, it is the former who is more sentimental among the two. It is a nice touch to see Henry being forced to boldly face his familial evils. Extra brownie points to the makers for creating such subversions that are catching up with the times and nudging the spectrum of representation.
I also enjoyed the witty banter between the couple during the initial stages of their relationship. All of this ensures that their relationship transitions neatly, even if quickly, from bodily attraction into an emotional bond. The aristocracy-related conflict doesn't exactly add too much to this film—and if we are rooting for these two to get together, it’s on account of the dialogues and their differing lives and accents.
The film ultimately suffers on account of conventional tropes. Be it the dramatic walkaways or the ‘face your fear to get your love back’ idea, it’s what you expect to see in this genre. However, the unique setting and a rather far-fetched premise do their bit to ensure there’s enough novelty to keep things afloat. If the success of romance often depends on a leap of faith, this film too expects such a leap from us to truly enjoy it.
(The story appeared originally on Cinema Express)
